Very Proud of Ya (1996)

AFI was, for many years, one of the most prolific bands
around. From 1995 through 2007, they were not only the East Bayâ€™s most
recognizable band, they were also its most active one. And so with that
heightened activity, AFI went through a very real and progressive metamorphosis.
With each record, a new sound was continually being developed. Their sophomore
record, Very Proud of Ya, was their debut for Nitro Records, a great
representation of the East Bay sound, and their big splash onto the national
underground scene.

Very Proud of Ya was a great demonstration of the California
skate-punk hardcore style. While it harnessed the streetwise aggression of East
Coast hardcore elements, the record also rocked along with the more melodic
sensibilities of the California sound. And this musical marriage is evidenced
in nearly every chorus on the record. The sixth track, â€œAdvances in Modern
Technology,â€ exemplified how naturally AFI connected these sounds. The song
moves along with the speed of a hill-bombing skater but also has great choral
breaks that at once showcase their ability to layer melodies and to craft great
sing-alongs. â€œPerfect Fitâ€ also aptly presented this sound. It rushes forward
with great horse-hopping guitars only to break into a harmony-laden chorus that
I defy the listener to not want to sing along to. And all tied together with cleverly
approachable lyrics like, â€œI won't be sedated, I won't be sedated. Give me a
little taste and I know I won't want more. I won't be sedated, stability is
overrated. Give me the disorder I adore.â€

The record was also the last in which Davey Havok penned
lyrics that had a more direct delivery. In subsequent albums, he certainly
upped his poetic and metaphoric style, but Very Proud of Ya showed lyrical
content that was both straightforward and thoughtful. The recordâ€™s opening track,
â€œHe Who Laughs Last,â€ covered typical punk hardcore fare: friends and betrayal.
Yet, Davey wrote about it in a far more crafty way than many of his peers.
Consider the opening lines, â€œNo trust can be given freely. It's a valuable
commodity, but obviously this is something you've never learned.Â Faith is something that you put in friends,
and had I excess morals to lend, I'd let you borrow them, but my trust you
haven't earned.â€ Now for sure there was a bit of sophomoric hardcore junk going
on there, but there was also ingenuity to those lines. For me, that lyrical ingenuity
certainly made AFI more compelling. And it elevated this album as more than
just another catchy release from another East Bay punk band.

Very Proud of Ya was, and remains, a great bridge between
the Rancid/Pennywise style dominating the East Bay and the Sick of
It All/H2O style dominating the East Coast in 1996. The record also
marked the end of the decidedly skate punk style that AFI first offered on
their debut full length, Answer That and Stay Fashionable. For with future
releases, AFI would travel down a distinctly darker, heavier, and more
experimental path, to say the least. And that doesnâ€™t take anything away from
Very Proud of Ya. It was a great record for not only the time, but also for
punk and hardcore at large. It was a bridge between subgenres and certainly
helped open up a variety of listeners to a diversity of influences.

That bridge was best demonstrated when I caught AFI open up
for Snapcase, VOD and Sick of It All in New York City in support of Very Proud
of Ya. They totally blew me away in both live presence and musicality. And what
was better, was that amongst the hordes of kids moshing for Sick of It All was
a young Davey Havok, wearing an old Refused longsleeve, moshing it up for SOIA
himself. There was something really genuine about that and itâ€™s stuck with me
since. Similarly, Very Proud of Ya, while a far cry from the AFI of the modern
day, is also entirely genuine. Itâ€™s more than worth checking out and is a great
record in its own right.